MIXING CONSOLE Owner's Manual Making the Most of Your Mixer

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MG10_E.book Page 1 Monday, May 26, 2003 1:52 PM

MIXING CONSOLE

Owner’s Manual

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Making the Most Of Your Mixer Pages 6 to 16

MG10_E.book Page 2 Monday, May 26, 2003 1:52 PM Precautions

—For safe operation—

WARNING

If lightning begins to occur, turn off the power switch of the unit Installation as soon as possible, and unplug the power plug from the electrical outlet. Connect this unit’s AC power adaptor only to an AC outlet of the type stated in this Owner’s Manual or as marked on the unit. If there is a possibility of lightning, do not touch the power plug Failure to do so is a fire and electrical shock hazard. if it is still connected. Doing so may be an electrical shock hazard. Do not allow water to enter this unit or allow the unit to become wet. Fire or electrical shock may result. Use only the included AC power adaptor (PA-10) for this unit. Using other types may be a fire and electrical shock hazard. Do not place a container with liquid or small metal objects on top of this unit. Liquid or metal objects inside this unit are a fire and electrical shock hazard. In case an abnormality occurs during operation Do not place heavy objects, including this unit, on top of the power cord. A damaged power cord is a fire and electrical shock If the power cord is damaged (i.e., cut or a bare wire is exposed), hazard. In particular, be careful not to place heavy objects on a ask your dealer for a replacement. Using the unit with a damaged power cord covered by a carpet. power cord is a fire and electrical shock hazard. Should this unit and AC adaptor be dropped or the cabinet be damaged, turn the power switch off, remove the power plug from Operation the AC outlet, and contact your dealer. If you continue using the unit without heeding this instruction, fire or electrical shock may Do not scratch, bend, twist, pull, or heat the power cord. A damaged power cord is a fire and electrical shock hazard. result. If you notice any abnormality, such as smoke, odor, or noise, or Do not remove the unit’s cover. You could receive an electrical shock. If you think internal inspection, maintenance, or repair is if a foreign object or liquid gets inside the unit, turn it off imme- necessary, contact your dealer. diately. Remove the power plug from the AC outlet. Consult your dealer for repair. Using the unit in this condition is a fire and Do not modify the unit. Doing so is a fire and electrical shock electrical shock hazard. hazard.

CAUTION

To relocate the unit, turn the power switch off, remove the power Installation plug from the AC outlet, and remove all connecting cables. Dam- aged cables may cause fire or electrical shock. Keep this unit away from the following locations: - Locations exposed to oil splashes or steam, such as near cook- ing stoves, humidifiers, etc. Operation - Unstable surfaces, such as a wobbly table or slope. - Locations exposed to excessive heat, such as inside a car with Do not cover or wrap the AC power adaptor with a cloth or blanket. Heat may build up under the cloth or blanket, melting the all the windows closed, or places that receive direct sunlight. case, or causing fire. Use only in a well-ventilated environment. - Locations subject to excessive humidity or dust accumulation. If you know you will not use this unit for a log period of time, Hold the power plug when disconnecting it from an AC outlet. such as when going on vacation, remove the power plug from the Never pull the cord. A damaged power cord is a potential fire and AC outlet. Leaving it connected is a potential fire hazard. electrical shock hazard. Do not touch the power plug with wet hands. Doing so is a potential electrical shock hazard.

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Precautions

—For correct operation —

Connector pin assignments Interference from Cell Phones

XLR-type connectors are wired as follows Use of a mobile phone near this unit may induce noise. If noise Pin 1: ground; Pin 2: hot (+); Pin 3: cold (–). occurs, move the phone further from the unit. INSERT TRS phone jacks are wired as follows Sleeve: ground; Tip: send; Ring: return.

Replacement of Consumable Parts

The performance of components with movable contacts—such as switches, rotary controls, faders, and connectors—deteriorates over time. While the rate of wear may vary greatly according to usage conditions, some amount of wear is unavoidable. When parts wear out, consult your dealer about appropriate replace- ments.

Always turn the power off when the mixer is not in use. Even when the power switch is in the “STANDBY” position, electricity is still ﬂowing to the mixer at the minimum level. When you are not using the mixer for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.

Copying of commercially available music data and/or digital audio ﬁles, except for personal use, is strictly prohibited. Illustrations in this manual are for explanatory purposes only, and may not match the actual appearance of the product during operation. Company names and product names used in this Owner’s Manual are trademarks or registered trademarks of their respective owners.

IMPORTANT NOTICE FOR THE UNITED KINGDOM Connecting the Plug and Cord

IMPORTANT. The wires in this mains lead are coloured in accordance with the following code: BLUE : NEUTRAL BROWN : LIVE As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Making sure that neither core is connected to the earth terminal of the three pin plug.

• This applies only to products distributed by Yamaha-Kemble Music (U.K.) Ltd. (2 wires).

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MG10_E.book Page 4 Monday, May 26, 2003 1:52 PM Introduction

Thank you for your purchase of the YAMAHA MG10/2 mixing console. This mixing console combines ease of operation with support for multiple usage environments.

Please read through this Owner’s Manual carefully before beginning use, so that you will be able to take full advantage of this mixer’s superlative features and enjoy trouble-free operation for years to come.

Features Contents

The MG10/2 provides ten input channels and mixes the signals Introduction ...... 4 into Stereo output. Features ...... 4 The monitor includes a convenient C-R OUT jack. This jack can be used to monitor the main Stereo output, and the 2TR IN sig- Contents ...... 4 nals. Before Turning on the Mixer ...... 5 The mixer includes dual AUX SEND jacks and a single Turning the Power On ...... 5 RETURN jack. The two independent AUX buses may be used as sends to external effectors and monitor systems. Making the Most Of Your Mixer ...... 6 Phantom power supply enables easy connection to condenser 1 microphones that run on external power. A Place For Everything and Everything In Its Place ...... 7 The mixer provides channel-speciﬁc INSERT I/O jacks for input channels 1 and 2. These jacks make it possible to insert different 2 Where Your Signal Goes Once effectors into different channels. It’s Inside the Box ...... 10 Input channels 1 and 2 are each equipped with both an XLR mic 3 The First Steps in Achieving Great Sound .... 11 input jack and a TRS phone-type line jack. Input channels 7/8 and 9/10 are each equipped with both a TRS line input jack and 4 External Effects and Monitor Mixes ...... 13 an RCA line input jack. This wide assortment of connectors 5 Making Better Mixes ...... 15 enables connection to many different devices, from microphones to line-level devices to stereo-output synthesizers. Front & Rear Panels ...... 17 You can mount the mixer to a microphone stand using the Channel Control Section ...... 17 optional BMS-10A adaptor. Master Control Section ...... 18 Input/Output Section ...... 19 Rear Section ...... 20

Setting Up ...... 21 Setup Procedure ...... 21 Setup Examples ...... 21 Mounting to a Microphone Stand ...... 22

Appendix ...... 23 Speciﬁcations ...... 23 Dimensional Diagrams ...... 25 Block Diagram and Level Diagram ...... 26

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Introduction

Before Turning on the Mixer Turning the Power On

(1) Be sure that the mixer’s power switch is in the STANDBY Press the mixer’s power switch to the ON position. When you are position. ready to turn the power off, press the power switch to the STANDBY position.

Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in equipment Note that trace current continues to ﬂow while the damage, overheating, or ﬁre. switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, please be sure to unplug the adaptor from the wall outlet. (2) Connect the power adaptor to the AC ADAPTOR IN connector (1) on the rear of the mixer, and then turn the fas- tening ring clockwise (2) to secure the connection.

(3) Plug the power adaptor into a standard household power outlet.

• Be sure to unplug the adaptor from the outlet when not using the mixer, or when there are lightning storms in the area. • To avoid generating unwanted noise, make sure there is adequate distance between the power adaptor and the mixer.

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MG10_E.book Page 6 Monday, May 26, 2003 1:52 PM Making the Most Of Your Mixer

An Introduction

You’ve got yourself a mixer and now you’re ready to use it. Just plug everything in, twiddle the controls, and away you go … right? Well, if you’ve done this before you won’t have any problems, but if this is the ﬁrst time you’ve ever used a mixer you might want to read through this little tutorial and pick up a few basics that will help you get better performance and make better mixes.

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Making the Most Of Your Mixer

1 A Place For Everything and Everything In Its Place

1-1. A Plethora Of Connectors—What Goes Where?

Questions you’re likely to encounter when setting up a system for the ﬁrst time might include “Why all these different types of connectors on the back of my mixer?” and “What’s the difference?”. Let’s start by taking a look at the most common connector types.

The Venerable RCA Pin Jack This is the “consumer connector,” and the one that has been most commonly used White on home audio gear for many years. Also known as “phono” jacks (short for ”phonogram”), but the term isn’t used much these days—besides, it’s too easily confusable with “phone” jacks, below. RCA pin jacks are always unbalanced, and generally carry a line-level signal at –10 dB, nominal. You’re most likely to use this type of connector when connecting a CD player or other home audio type source to your mixer, or when connecting the output of your mixer to a cassette recorder Red or similar gear.

The Versatile Phone Jack The name “phone jack” arose simply because this configuration was first used in telephone switchboards. Phone jacks can be tricky because you can’t always tell what type of signal they’re designed to handle just by looking at them. It could be unbalanced mono, unbalanced stereo, balanced mono, or an insert patch point. The connector’s label will Stereo/TRS phone plug usually tell you what type of signal it handles, as will the owner’s manual (you do keep your manuals in a safe place, don’t you?). A phone jack that is set up to handle balanced signals is also often referred to as a “TRS” phone jack. “TRS” stands for Tip-Ring-Sleeve, which describes the configuration of the phone plug used. Mono phone plug

The Sturdy XLR This type of connector is generally referred to as “XLR-type,” and almost always carries a balanced signal. If the corresponding circuitry is designed properly, however, XLR-type connectors will also handle unbalanced signals with no problem. Microphone cables usually have this type of connector, as do the inputs Male and outputs of most professional audio gear.

Female

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Making the Most Of Your Mixer

1-2. Balanced, Unbalanced—What’s the Difference?

In a word: “noise.” The whole point of balanced lines is noise rejection, and it’s something they’re very good at. Any length of wire will act as an antenna to pick up the random electromagnetic radiation we’re constantly surrounded by: radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computer monitors, and a variety of other sources. The longer the wire, the more noise it is likely to pick up. That’s why balanced lines are the best choice for long cable runs. If your “studio” is basically confined to your desktop and all connections are no more than a meter or two in length, then unbalanced lines are fine—unless you’re surrounded by extremely high levels of electromagnetic noise. Another place balanced lines are almost always used is in microphone cables. The reason for this is that the output signal from most microphones is very small, so even a tiny amount of noise will be relatively large, and will be amplified to an alarming degree in the mixer’s high- gain head amplifier. To summarize: Microphones: Use balanced lines. Short line-level runs: Unbalanced lines are fine if you’re in a relatively noise-free environment. Long line-level runs: The ambient electromagnetic noise level will be the ultimate deciding factor, but balanced is best.

How Do Balanced Lines Reject Noise? ** Skip this section if technical details make you queasy. ** Balanced lines work on the principle of “phase cancellation”: if you add two identical signals out of phase (i.e. one signal is inverted so its peaks coincide with the troughs in the other signal), the result is … nothing. A ﬂat line. The signals cancel each other out. Normal-phase signal.

No signal. (Phase cancellation)

Reverse-phase signal.

A balanced cable has three conductors: 1) A ground conductor which carries no signal, just the “ground” or “0” reference against which the signal in the other conductors ﬂuctuates. 2) A “hot” or “+” conductor which carries the normal-phase audio signal. 3) A “cold” or “–” conductor which carries the reverse-phase audio signal. While the desired audio signals in the hot and cold conductors are out of phase, any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal is reversed at the receiving end of the line so that the desired audio signals become in- phase, and the induced noise suddenly ﬁnds itself out of phase. The out-of-phase noise signal is effec- tively canceled while the audio signal is left intact. Clever, eh? Normal-phase signal + normal-phase noise.

Desired signal with no noise.

Normal-phase signal + reverse-phase noise.

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Making the Most Of Your Mixer

1-3. Signal Levels—Decibel Do’s and Don’ts

From the moment you start dealing with things audio, you’ll have to deal with the term “decibel” and its abbreviation, “dB”. Things can get confusing because decibels are a very versatile unit of measure used to describe acoustic sound pressure levels as well as electronic signal levels. To make matters worse there are a number of variations: dBu, dBV, dBm. Fortunately, you don’t need to be an expert to make things work. Here are a few basics you should keep in mind:

“Consumer” gear (such as home audio equipment) usually has line inputs and outputs with a nominal (average) level of –10 dB.

Professional audio gear usually has line inputs and outputs with a nominal level of +4 dB.

You should always feed –10 dB inputs with a –10 dB signal. If you feed a +4 dB signal into a –10 dB input you are likely to overload the input.

You should always feed +4 dB inputs with a +4 dB signal. A –10 dB signal is too small for a +4 dB input, and will result in less-than-optimum performance.

Many professional and semi-professional devices have level switches on the inputs and/or outputs that let you select –10 or +4 dB. Be sure to set these switches to match the level of the connected equipment.

Inputs that feature a “Gain” control—such as the mono-channel inputs on your Yamaha mixer—will accept a very wide range of input levels because the control can be used to match the input’s sensitivity to the signal. More on this later.

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Making the Most Of Your Mixer

2 Where Your Signal Goes Once It’s Inside the Box

At first glance the block diagram of even a modest mixer can look like a space-station schematic. In reality, block diagrams are a great aid in understanding how the signal flows in any mixer. Here’s a greatly simplified block diagram of a generic mixer to help you become familiar with the way these things work.

2-1. Greatly Simpliﬁed Mixer Block Diagram Input Channel Master Section

Signals from the mixer’s other input channels (if they are assigned to this master output or “bus”).

12345

Input Channel 3 Channel Peak LED & Fader The channel peak LED is your most 1 Head Amp valuable tool for setting the input “gain” control for optimum performance. Note The very first stage in any mixer, and that it is located after the head amp and usually the only stage with significant EQ stage. “gain” or “amplification.” The head amp has a “gain” control that adjusts the mixer’s input sensitivity to match the Master Section level of the source. Small signals (e.g. mics) are amplified, and large signals are attenuated. 4 Summing Amplifier This is where the actual “mixing” takes 2 Equalizer place. Signals from all of the mixer’s Could be simple bass and treble con- input channels are “summed” (mixed) trols or a full-blown 4-band parametric together here. EQ. When boost is applied the EQ stage also has gain. You can actually overload 5 Master Fader & Level Meter the input channel by applying too much A stereo, mono, or bus master fader and EQ boost. It’s usually better to cut than the mixer’s main output level meter. boost. There could be several master faders depending on the design of the mixer— i.e. the number of buses or outputs it provides.

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Making the Most Of Your Mixer

3 The First Steps in Achieving Great Sound

Before you even consider EQ and effects, or even the overall mix, it is important to make sure that levels are properly set for each individual source. This can’t be stressed enough—initial level setup is vitally important for achieving optimum performance from your mixer! Here’s why … and how.

3-1. The Head Ampliﬁer “Gain” Control Is the Key!

Let’s review our simpliﬁed mixer block diagram:

Each and every “stage” in the mixer’s signal path will add a certain amount of noise to the signal: the head amp, the EQ stage, the summing ampliﬁer, and the other buffer and gain stages that exist in the actual mixer circuit (this applies to analog mixers in particular). The thing to keep in mind is that the amount of noise added by each stage is usually not dependent to any signiﬁcant degree on the level of the audio signal passing through the circuit. This means that the bigger the desired signal, the smaller the added noise will be in relation to it. In tech-speak this gives us a better “signal-to-noise ratio”—often abbreviated as “S/N ratio.” All of this leads to the following basic rule:

To achieve the best overall system S/N ratio, amplify the input to the desired average level as early as possible in the signal path.

In our mixer, that means the head ampliﬁer. If you don’t get the signal up to the desired level at the head ampliﬁer stage, you will need to apply more gain at later stages, which will only amplify the noise con- tributed by the preceding stages. Just remember that too much initial gain is bad too, because it will overload our channel circuitry and cause clipping.

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Making the Most Of Your Mixer

3-2. Level Setup Procedure For Optimum Performance

Now that we know what we have to do, how do we do it? If you take another quick look at the mixer block diagram you’ll notice that there’s a peak indicator located right after the head ampliﬁer and EQ stages, and therein lays our answer! Although the exact procedure you use will depend on the type of mixer you use and the application, as well as your personal preferences, here’s a general outline:

Start by setting all level controls to their minimum: master fad- 1 ers, channel faders, and input gain controls. Also make sure that no EQ is applied (no boost or cut), and that all effects and dynamic processors included in the system are defeated or bypassed.

Apply the source signal to each channel one at a time: have 2 singers sing, players play, and playback devices play back at the loudest expected level. Gradually turn up the input gain control while the signal is being applied to the corresponding channel until the peak indicator begins to ﬂash, then back off a little so that the peak indicator ﬂashes only occasionally. Repeat for each active channel.

Raise your master fader(s) to their nominal levels (this will be 3 the “0” markings on the fader scale).

Now, with all sources playing, you can raise the channel fad- 4 ers and set up an initial rough mix.

That’s basically all there is to it. But do keep your eyes on the main output level meters while setting up the mix to be sure you don’t stay in the “peak zone” all the time. If the output level meters are peaking constantly you will need to lower the channel faders until the overall program falls within a good range— and this will depend on the “dynamic range” of your program material.

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Making the Most Of Your Mixer

4 External Effects and Monitor Mixes

4-1. AUX Buses For Monitor Sends and Pre/Post—What’s the difference? Overall Effects pre post

There are a number of reasons why you might A “pre-fader” signal is taken A “post-fader” signal is want to “tap” the signal ﬂowing through your from a point before the taken from a point after the mixer at some point before the main outputs: the channel fader, so the send channel fader, so its level two most common being 1) to create a monitor level is affected only by the will be affected by both the mix that is separate from the main mix, and 2) to AUX send level control and AUX send level control and process the signal via an external effect unit and not by the channel fader. the channel fader. then bring it back into the mix. Both of these func- Pre-fader sends are most Post-fader sends are most tions, and more, can be handled by the mixer’s commonly used to provide commonly used in conjunc- AUX (Auxiliary) buses and level controls. If the monitor mixes. tion with the mixer’s AUX or mixer has two AUX buses, then it can handle both effect returns for external functions at the same time. Larger mixing con- effect processing. soles can have 6, 8, or even more auxiliary buses to handle a variety of monitoring and processing needs. Using the AUX buses and level controls is pretty straightforward. The only thing you need to consider is whether you need a “pre-fader” or “post- fader” send. AUX sends often feature a switch that allows you to conﬁgure them for pre- or post- fader operation.

Pre-fader send for a monitor mix. The send signal is fed to the monitor power ampliﬁer and speaker system. The channel fader does not affect the send level so the monitor mix remains independent of the main mix. No return signal is used in this case.

AUX Send Channel Level Fader

AUX Send Level AUX Return Level

Post-fader send for external effects processing. The send signal is fed to the external effect unit—a reverb unit, for example—and the output from the effect unit is returned to the AUX Return jack and mixed back into the main program. The send level is affected by the channel fader so the effect level always remains in proportion to the channel signal.

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Making the Most Of Your Mixer

4-2. Channel Inserts for Channel-speciﬁc Processing

Another way to get the mixer’s signal outside the box is to use the channel inserts. The channel inserts are almost always located before the channel fader and, when used, actually “break” the mixer’s internal signal path. Unlike the AUX sends and returns, the channel insert only applies to the corresponding channel. Channel inserts are most commonly used for applying a dynamics processor such as a compressor or limiter to a speciﬁc channel—although they can be used with just about any type of in/out processor.

Channel Fader

When a plug is inserted into the channel insert jack, the internal signal path is interrupted and sent outside the mixer for external processing.

Channel insert jacks must be used with a special insert cable that has a TRS phone jack on one end and mono phone jacks on the split “Y” end. One of the mono phone jacks carries the “send” signal to be fed to the input of the external processor, and the other carries the “return” signal from the output of the processor.

To the input jack of the external processor

To the INSERT I/O jack

Sleeve Tip

Sleeve Ring Tip To the output jack of the external processor

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Making the Most Of Your Mixer

5 Making Better Mixes

5-1. Approaching the Mix—Where Do Music First—Then Mix You Start? In any case, the music comes first. Think about the music and let it guide the mix, rather than try- Mixing is easy, right? Just twiddle the faders ing to do things the other way around. What is the around until it sounds right? Well, you can do it music saying and what instrument or technique is that way, but a more systematic approach that is being used to drive the message? That’s where the suited to the material you’re mixing will produce focus of your mix should be. You’re using a high- much better results, and faster. There are no rules, tech tool to do the mixing, but the mix itself is as and you’ll probably end up developing a system much art as the music. Approach it that way and that works best for you. But the key is to develop a your mixes will become a vital part of the music. system rather than working haphazardly. Here are a few ideas to get you started: 5-2. Panning For Cleaner Mixes Faders Down Not only does the way you pan your individual It might sound overly simple, but it is usually a channels determine where the instruments appear good idea to start with all channel faders off—all in the stereo sound field, but it is also vital to give the way down. It’s also possible to start with all each instrument it’s own “space” so that it doesn’t faders at their nominal settings, but it’s too easy to conflict with other instruments. Unlike live sound lose perspective with this approach. Start with all in a real acoustic space, recorded stereo sound is faders down, then bring them up one by one to fill basically 2-dimensional (although some types of out the mix. But which channel should you start surround sound are actually very 3-dimensional), with? and instruments positioned right on top of each Example1: other will often get in each other’s way—particu- Vocal Ballad Backed by Piano Trio larly if they are in the same frequency range or What are you mixing? Is it a song in which the have a similar sound. vocals are the most important element? If so you might want to build the mix around the vocals. This means bringing the vocal channel up to nominal first (if your level setup procedure has been done properly this will be a good starting point), and then adding the other instruments. What you add next will depend on the type of material you are working with and your approach to it. If the vocals are backed by a piano trio and the song is a ballad, for example, you might want to bring in the piano next and get the vocal/piano relationship just right, then bring in the bass and drums to support the overall sound. Example2: Funky R&B Groove The approach will be totally different if you’re mixing a funky R&B number that centers on the groove. In this case most engineers will start with the drums, and then add the bass. The relationship between the drums and bass is extremely important to achieve the “drive” or groove the music rides on. Pay particular attention to how the bass works with the kick (bass drum). They should almost sound like a single instrument— with the kick supplying the punch and the bass supplying the pitch. Once again, there are no rules, but these are concepts that have been proven to work well.

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Making the Most Of Your Mixer

Spread them Out! One of the biggest problems with too much boost is that it adds gain to the signal, increasing noise Position your instruments so they have room to and potentially overloading the subsequent cir- “breathe,” and connect in the most musical way cuitry. with other instruments. Sometimes, however, you’ll want to deliberately pan sounds close together, or even right on top of one another, to 5-4. Ambience emphasize their relationship. There are no hard- and-fast rules. Normally (but this is not a rule), Judicious application of reverb and/or delay via bass and lead vocals will be panned to center, as the mixer’s AUX busses can really polish a mix, will the kick drum if the drums are in stereo. but too much can “wash out” the mix and reduce overall clarity. The way you set up your reverb sound can make a huge difference in the way it 5-3. To EQ Or Not To EQ meshes with the mix. In general: less is better. There are many situations Reverb/Delay Time in which you’ll need to cut certain frequency ranges, but use boost sparingly, and with caution. Different reverb/delay units offer different capabil- Proper use of EQ can eliminate interference ities, but most offer some means of adjusting the between instruments in a mix and give the overall reverb time. A little extra time spent matching the sound better definition. Bad EQ—and most com- reverb time to the music being mixed can mean monly bad boost—just sounds terrible. the difference between great and merely average sound. The reverb time you choose will depend Cut For a Cleaner Mix to a great degree on the tempo and “density” of the mix at hand. Slower tempos and lower densi- For example: cymbals have a lot of energy in the ties (i.e. sparser mixes with less sonic activity) can mid and low frequency ranges that you don’t sound good with relatively long reverb times. But really perceive as musical sound, but which can long reverb times can completely wash out a interfere with the clarity of other instruments in faster more active piece of music. Similar princi- these ranges. You can basically turn the low EQ ples applies to delay. on cymbal channels all the way down without changing the way they sound in the mix. You’ll Reverb Tone hear the difference, however, in the way the mix sounds more “spacious,” and instruments in the How “bright” or “bassy” a reverb sound is also lower ranges will have better definition. Surpris- has a huge impact on the sound of your mix. Dif- ingly enough, piano also has an incredibly power- ferent reverb units offer different means of con- ful low end that can benefit from a bit of low- trolling this—balance between the high- and low- frequency roll-off to let other instruments—nota- frequency reverb times, simple EQ, and others. A bly drums and bass—do their jobs more effec- reverb that is too bright will not only sound unnat- tively. Naturally you won’t want to do this if the ural, but it will probably get in the way of delicate piano is playing solo. highs you want to come through in your mix. If you find yourself hearing more high-end reverb The reverse applies to kick drums and bass gui- than mix detail, try reducing the brightness of the tars: you can often roll off the high end to create reverb sound. This will allow you to get full-bod- more space in the mix without compromising the ied ambience without compromising clarity. character of the instruments. You’ll have to use your ears, though, because each instrument is dif- Reverb Level ferent and sometimes you’ll want the “snap” of a bass guitar, for example, to come through. It’s amazing how quickly your ears can lose perspective and fool you into believing that a totally Boost With Caution washed-out mix sounds perfectly fine. To avoid falling into this trap start with reverb level all the If you’re trying to create special or unusual way down, then gradually bring the reverb into effects, go ahead and boost away as much as you the mix until you can just hear the difference. Any like. But if you’re just trying to achieve a good- more than this normally becomes a “special sounding mix, boost only in very small incre- effect.” You don’t want reverb to dominate the ments. A tiny boost in the midrange can give mix unless you are trying to create the effect of a vocals more presence, or a touch of high boost band in a cave—which is a perfectly legitimate can give certain instruments more “air.” Listen, creative goal if that’s the sort of thing you’re aim- and if things don’t sound clear and clean try using ing for. cut to remove frequencies that are cluttering up the mix rather than trying to boost the mix into clarity.

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4 Equalizer (HIGH, MID, and LOW) Channel Control Section This three-band equalizer adjusts the channel’s high, mid, and low frequency bands. Setting the knob to the position pro- duces a ﬂat frequency response. Turning the knob to the right boosts the corresponding frequency band, while turning to the Channels Channels Channels left attenuates the band. The following table shows the EQ 1 and 2 3/4 and 5/6 7/8 and 9/10 type, base frequency, and maximum cut/boost for each of the (Monaural) (Stereo) (Stereo) three bands.

1 Band Type Base Frequency Maximum Cut/Boost HIGH Shelving 10 kHz 3 MID Peaking 2.5 kHz ±15 dB 2 LOW Shelving 100 Hz

5 AUX Controls 4 Use the AUX control to send the channel’s signal to the AUX1 or AUX2 bus. Turn the knob to the left of the mark to feed the signal to the AUX1 bus, or to the right of the to feed to the AUX2 bus. The volume of the feed increases as you move the knob away 5 5 5 from the position. If you set the knob exactly to the position, the mixer will not send the signal to either of the AUX buses. 6 6 6 Note that the signal to the AUX1 bus is a pre-fader signal, and is not affected by the channel fader. The signal to the AUX2 bus is a post-fader signal, and will always pass through the 7 7 7 channel fader before moving to the bus. If you are using stereo channels, the signals from the L (odd) and R (even) channels are mixed and sent to the AUX1 and AUX2 buses.

6 PAN Control (CHs 1 and 2) PAN/BAL Control (CHs 3/4 and 5/6) 1 GAIN Control BAL Control (CHs 7/8 and 9/10) Adjusts the input signal level. To get the best balance between The PAN control determines the positioning of the channel’s the S/N ratio and the dynamic range, adjust the level so that the signal on the Stereo L and R buses. peak indicator (2) comes on only at about maximum input The BAL control knob sets the balance between left and right level. channels. Signals into the L input (odd channel) feed to the Ste- The –60 to –16 scale indicates the MIC input adjustment level. reo L bus; signals into the R input (even channel) feed to the The –34 to +10 scale indicates the LINE input adjustment Stereo R bus. level. On channels where this knob provides both PAN 2 PEAK Indicator NOTE and BAL controls: The knob operates as a PAN con- Detects the peak level of the post-EQ signal, and lights up red trol if you are inputting through the MIC jack or into when the level reaches 3 dB below the clipping level. For the L (MONO) input only, and operates as a BAL control if you are inputting into both L and R inputs. XLR-equipped stereo input channels (3/4 and 5/6), detects both post-EQ and post-mic-amp peak levels, and lights red if either 7 Channel Fader of these levels reaches 3 dB below the clipping level. Adjusts the output level of the signal being input to the channel. Use these faders to adjust the volume balance among the 3 Switch (High Pass Filter) various channels. This switch toggles the HPF on or off. To turn the HPF on, press the switch in ( ). The HPF cuts frequencies below To reduce noise, set the fader knobs for unused 80 Hz. (But note that regardless of the switch setting, the mixer NOTE channels all the way to the left (to the minimum set- does not apply this HPF to the line inputs of stereo input chan- ting). nels.)

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Front & Rear Panels

2 RETURN Control Master Control Section Adjusts the level of the signal sent from the RETURN jacks (L (MONO) and R) to the Stereo bus.

If you supply a signal to the RETURN L (MONO) NOTE jack only, the mixer outputs the identical signal to both the L and R Stereo buses.

3 2TR IN Control Adjusts the level of the signal sent from the 2TR IN jack to the Stereo bus.

4 ST Master Fader 7 Adjusts the signal level to the ST OUT jacks.

1 5 C-R/PHONES Control Controls the level of the signal output to the PHONES jack and the C-R L and R jacks.

6 Level Meter 2 6 This LED display shows the level of the signal fed to the Stereo bus. The “0” point corresponds to the standard output level. 3 The indicator lights up red when the output hits the clipping level.

7 POWER Indicator This indicator lights up when the mixer’s power is ON.

5 4

1 PHANTOM +48 V Switch This switch toggles phantom power on and off. If you set the switch on, the mixer supplies power to all channels that provide XLR mic input jacks (CHs 1, 2, 3/4, 5/6). Set this switch on () when using one or more condenser microphones.

When this switch is on, the mixer supplies DC +48 V NOTE power to pins 2 and 3 of all XLR-type MIC INPUT jacks.

• Be sure to leave this switch off ( ) when you are not using phantom power. Humming or damage may result if you connect to an unbalanced device or to an ungrounded transformer while this switch is on (). But note that the switch may be left on () without problem when connecting to balanced dynamic microphones. •To avoid damage to speakers, be sure to turn off ampliﬁers (or powered speakers) before turning this switch on or off.

MG10/2 18 Front & Rear Panels

Input/Output Section

1 3 4 5 6 7

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2 9 8 0

1 Channel Input Jacks (CHs 1, 2, 3/4, 5/6) 3 Channel Input Jacks (CHs 7/8, 9/10) • MIC jacks Each of these channel pairs can be used to input a stereo source These are balanced XLR-type input jacks (1:Ground; 2:Hot; signal. For each pair, the odd-numbered channel inputs the L 3:Cold). signal, and the even-numbered channel inputs the R signal. • LINE jacks These are balanced phone-type input jacks. You can connect Each channel offers a choice of two jack types: phone jack and either balanced or unbalanced phone plugs to these jacks. RCA pin jack. All of these jacks are unbalanced.

Where an input channel provides both a MIC jack Where a channel provides both a phone jack and an NOTE and a LINE jack, you may use either one of these NOTE RCA pin jack, you may use either one of these jacks jacks but you may not use both at the same time. but you may not use both at the same time. Please Please connect to only one of these jacks on each connect to only of these jacks on each channel. channel. 4 2TR IN Jacks 2 INSERT I/O Jacks (CHs 1, 2) These are unbalanced RCA-pin input jacks. Use these jacks These are unbalanced phone-type input/output jacks. Each of when you want to connect a stereo sound source (CD, DAT, these jacks is positioned between the equalizer and channel etc) directly to the mixer for monitoring. fader of the corresponding input channel. These jacks can be used to independently connect these channels to devices such You can adjust the signal level using the 2TR IN as graphic equalizers, compressors, and noise ﬁlters. These are NOTE control in the Master Control section. TRS (tip, ring, sleeve) phone jacks that support bidirectional operation. 5 REC OUT (L, R) Jacks These are unbalanced RCA-pin output jacks. These jacks out- Connection to an INSERT I/O jack requires a spe- NOTE cial separately-sold insertion cable such as illus- put the mixed signal whose level is controlled by the ST Master trated below. Fader. You use these jacks, for example, to connect to an external recorder.

To the input jack of the external processor 6 ST OUT (L, R) Jacks These are impedance-balanced phone-type output jacks. These To the INSERT I/O jack jacks output the mixed signal whose level is controlled by the Sleeve Tip ST Master Fader. You use these jacks, for example, to connect to the power ampliﬁer driving your main speakers. Sleeve Ring 7 C-R OUT Jacks Tip To the output jack of the external processor These are impedance-balanced phone-type output jacks. These jacks output the mixed signal whose level is controlled by the C-R/PHONES Control. You use these jacks, for example, to The signal output from the INSERT I/O jacks is connect to the monitor system. reverse-phased. This will not be a problem if connecting the jack to an effector. If using the jack to output to an external device, however, please be aware of possible phase conﬂicts with other signals.

MG10/2 19 Front & Rear Panels

8 SEND Jacks These jacks can also be used as an auxiliary stereo NOTE • AUX1, AUX2 input. If you connect to the L(MONO) jack only, the These are impedance balanced phone-type output jacks. mixer will recognize the signal as monaural and will These jacks output the signals from AUX1 and AUX2, propagate the identical signal on both L and R jacks. respectively. You use these jacks, for example, to connect to an effector or monitor system. 0 PHONES Jack 9 RETURN L (MONO), R Jacks Connector for headphones. This is a balanced phone-type out- These are unbalanced phone-type input jacks. The signal put jack. received by these jacks is sent to the Stereo bus. These jacks are typically used to receive a return signal from an external effector (reverb, delay, etc.).

Connector Polarities

INPUT OUTPUT Pin 1: Ground MIC INPUT Pin 2: Hot (+) Pin 3: Cold (–)

LINE INPUT (monaural channels), Tip: Hot (+) ST OUT, C-R OUT, Ring: Cold (–) AUX1, AUX2* Sleeve: Ground Ring Tip: Output INSERT I/O Ring: Input Sleeve: Ground Sleeve Tip Tip: L PHONES Ring: R Sleeve: Ground

RETURN, Tip: Hot LINE INPUT (stereo channels) Sleeve: Ground Sleeve Tip

* These jacks will also accept connection to monaural phone plugs. If you use monaural plugs, the connection will be unbalanced.

Rear Section 1 AC ADAPTOR IN Connector Connects to the included PA-10 power adaptor (see page 5).

Use only the PA-10 adaptor included with this mixer. Use of a different adaptor may result in ﬁre or electric shock.

1 2 2 POWER Switch Use this switch to set mixer power to ON or STANDBY.

Note that trace current continues to ﬂow while the switch is in the STANDBY position. If you do not plan to use the mixer again for a long while, be sure to unplug the adaptor from the wall outlet.

MG10/2 20 MG10_E.book Page 21 Monday, May 26, 2003 1:52 PM Setting Up

Where an input channel provides both a MIC INPUT Setup Procedure NOTE jack and a LINE INPUT jack, you may use either one of these jacks but you may not use both at the same time. Please connect to only one of these (1) Before connecting to microphones and instruments, be sure jacks on each channel. that all devices are turned off. Also be sure that all of the channel controls and all of the controls in the Master Control sec- (3) To avoid causing damage to speakers, power up the devices in tion are turned to their minimum settings. the following order: Peripheral devices → mixer → power (2) For each connection, connect one end of the cable to the rele- amps (or powered speakers). vant microphone or instrument and connect the other end to the appropriate LINE or MIC jack on the mixer. When shutting the system down, turn off the power NOTE in the opposite order: Power amps (powered speakers) → mixer → peripheral devices.

Setup Examples

Sound Source (CD, MD, Synthesizer DAT, cassette, video, etc.)

Sound Source (CD, MD, DAT, cassette, video, etc.)

Master Recorder MTR (MD, CD-R, DAT, etc.) Rhythm Machine Powered Monitor Speakers

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Microphone Effector

Headphones Guitar

MG10/2 21 Setting Up

Mounting to a Microphone Stand

• When using the mixer on a microphone stand, be sure to set the stand on a level and stable surface. Do not set up the stand in locations subject to vibrations or wind. • Note that mixer may be damaged if the stand should fall over. Attach the connection cables carefully so that the cables will not catch on the equipment and cause it to fall. For example: arrange the cables so that they run parallel with the microphone pole down to the base of the stand. • Leave ample free space around the stand.

(1) Turn the mixer upside-down, and hold the microphone-stand adaptor (BMS-10A; sold separately) against the bottom of the mixer so that the screw holes are aligned (1). Screw the adaptor ﬁrmly into place with the two screws (2).

(2) Turn the mixer right-side up, and mount it onto your microphone stand. (3) Loosen the angle adjustment wingnut (1), adjust the mixer’s angle as desired (2), and then tighten the wingnut securely (3).

For more information, refer to the BMS-10A Owner’s Manual.

MG10/2 22

MG10.fm Page 23 Thursday, July 3, 2003 5:10 PM Appendix

Speciﬁcations

General Speciﬁcations

Frequency Characteristics (ST OUT) 20 Hz–20 kHz +1 dB, –3 dB @+4 dBu, 10 kΩ (with gain control at minimum level) 0.1 % (THD+N) @+14 dBu, 20 Hz–20 kHz, 10 kΩ (with gain control at maximum level) Total Harmonic Distortion (ST OUT) (CHs 1 and 2) –128 dBu Equivalent input noise (CHs 1 and 2) –100 dBu Residual output noise (ST OUT) ST, Master fader at nominal level and all Ch at minimum –87 dBu (91 dB S/N) Hum and Noise1 level. –85 dBu (89 dB S/N) All channel AUX controls at minimum level. ST, Master fader and one Ch fader at nominal level. –64 dBu (68 dB S/N) (CHs 1 and 2) 60 dB CH MIC INPUT → CH INSERT OUT 76 dB CH MIC INPUT → ST OUT 64.2 dB CH MIC INPUT → REC OUT 70 dB CH MIC INPUT → AUX SEND1 (PRE) 76 dB CH MIC INPUT → AUX SEND2 (POST) → 2 76 dB ST CH MIC INPUT ST OUT Maximum Voltage Gain 50 dB ST CH LINE INPUT → ST OUT 41 dB ST CH LINE INPUT → AUX SEND1 (PRE) 47 dB ST CH LINE INPUT → AUX SEND2 (POST) 26 dB ST CH INPUT → ST OUT 12 dB AUX RETURN → ST OUT 23.8 dB 2TR INPUT → ST OUT Monaural/Stereo Input Gain Control 44 dB variable Monaural/Stereo High Pass Filter 80 Hz 12 dB/octave –70 dB between input channels Crosstalk (1 kHz) –70 dB between input/output channels (CHs 1 to 6) ±15 dB Monaural/Stereo Input Channel Equalization: HIGH 10 kHz shelving Max. Variation3 MID 2.5 kHz peaking LOW 100 Hz shelving On each channel: red indicator lights if post-EQ signal (on ST channels, if either post-EQ sig- Monaural/Stereo Input Peak Indicator nal or post-mic-amp signal) comes within 3 dB of the clipping level. Two 12-point LED meters [Stereo (L, R)] Peak point: red indicator Level Meters +5, +3, +1, and 0 points: yellow indicators –1, –3, –5, –7, –10, –15, –20: green indicators Phantom +48 VDC Power (Balanced input) Supplied when Phantom +48 V switch is ON. Included Accessory Power adaptor (PA-10) Option Microphone-stand adaptor (BMS-10A) USA and Canada: 120 V AC, 60 Hz Europe: 230 V AC, 50 Hz Power Supply Australia: 240 V AC, 50 Hz Korea: 220 V AC, 60 Hz Power Consumption 19 W Max. Dimensions (W × H × D) 251 × 65 × 290.5 mm Weight 1.8 kg Where 0 dBu = 0.775 V and 0 dBV = 1 V

1 Measured with 12.7 kHz, –6 dB/oct. low pass ﬁlter (equivalent to 20 kHz, –∞ ﬁlter). (CH MIC INPUT to ST, AUX, EFFECT SEND) 2 Turning PAN/BAL to left or right. 3 Shelving turnover/rolloff frequency: 3 dB before maximum cut or boost.

MG10/2 23 MG10_E.book Page 24 Monday, May 26, 2003 1:52 PM

Appendix

Input Speciﬁcations

Input Connector Gain Input Appropriate Sensitivity* Rated Level Max. Before Connector Impedance Impedance Clipping Speciﬁcations

–72 dBu –60 dBu –40 dBu –60 (0.195 mV) (0.775 mV) (7.75 mV) MIC INPUT Ω Ω (CH 1-2) 3 k 50–600 mic XLR-3-31 type (balanced) –28 dBu –16 dBu +4 dBu –16 (30.9 mV) (123 mV) (1.23 V)

–34 –46 dBu –34 dBu –14 dBu (3.88 mV) (15.5 mV) (155 mV) Phone jack (TRS) LINE INPUT Ω Ω (CH 1, 2) 10 k 600 line (balanced [T: hot; R: cold; –2 dBu +10 dBu +30 dBu S: ground]) +10 (0.616 V) (2.45 V) (24.5 V)

–60 –72 dBu –60 dBu –40 dBu ST CH MIC INPUT (0.195 mV) (0.775 mV) (7.75 mV) (CH3(L)/CH4(R), 3 kΩ 50–600 Ω mic XLR-3-31 type (balanced) CH5(L)/CH6(R)) –28 dBu –16 dBu –10 dBu –16 (30.9 mV) (123 mV) (245 mV)

–34 –46 dBu –34 dBu –14 dBu ST CH LINE INPUT (3.88 mV) (15.5 mV) (155 mV) (CH3(L)/CH4(R), 10 kΩ 600 Ω line Phone jack (unbalanced) CH5(L)/CH6(R)) –2 dBu +10 dBu +30 dBu +10 (0.616 V) (2.45 V) (24.5 V)

ST CH INPUT (CH7(L)/CH8(R), 10 kΩ 600 Ω line –22 dBu –10 dBu +10 dBu Phone jack (unbalanced); CH9(L)/CH10(R)) (61.6 mV) (245 mV) (2.45 V) RCA pin jack

Phone jack (TRS) CH INSERT IN 10 kΩ 600 Ω line –20 dBu 0 dBu +20 dBu (unbalanced [T: out; R: in; (CH 1, 2) (77.5 mV) (0.775 V) (7.75 V) S: ground])

Ω Ω –12 dBu +4 dBu +24 dBu Phone jack (TRS) (unbalanced AUX RETURN (L, R) 10 k 600 line (195 mV) (1.23 V) (12.3 V) [T: hot; S: ground])

Ω Ω –26 dBV –10 dBV +10 dBV 2TR IN (L, R) 10 k 600 line (50.1 mV) (316 mV) (3.16 V) RCA pin jack

Where 0 dBu = 0.775 V and 0 dBV= 1 V * Input sensitivity: the lowest level that will produce the nominal output level when the unit is set to maximum gain. Output Speciﬁcations

Output Appropriate Max. Before Output Connectors Impedance Impedance Rated Level Clipping Connector Speciﬁcations

Phone jack (TRS) ST OUT (L, R) 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground])

Phone jack (TRS) AUX SEND (1, 2) 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground])

Ω Ω Phone jack (TRS) CH INSERT OUT (CH 1, 2) 150 10 k line 0 dBu (0.775 V) +20 dBu (7.75 V) (unbalanced [T: out; R: in; S: ground])

REC OUT (L, R) 600 Ω 10 kΩ line –10 dBV (316 mV) +10 dBV (3.16 V) RCA pin jack

Phone jack (TRS) C-R OUT (L, R) 150 Ω 10 kΩ line +4 dBu (1.23 V) +20 dBu (7.75 V) (impedance balanced [T: hot; R: cold; S: ground])

PHONES 100 Ω 40 Ω phone 3 mW 75 mW Stereo phone jack

Where 0 dBu = 0.775 V and 0 dBV= 1 V Specifications and descriptions in this owner’s manual are for information purposes only. Yamaha Corp. reserves the right to change or modify products or specifications at any time without prior notice. Since specifications, equipment or options may not be the same in every locale, please check with your Yamaha dealer. European models Purchaser/User Information specified in EN55103-1 and EN55103-2. Inrush Current: 3A Conforms to Environments: E1, E2, E3 and E4

MG10/2 24 MG10_E.book Page 25 Monday, May 26, 2003 1:52 PM

Appendix

Dimensional Diagrams

65 251 290.5

Unit: mm

MG10/2 25 MG10_E.book Page 26 Monday, May 26, 2003 1:52 PM

Appendix

Block Diagram and Level Diagram

MG10/2 26

PA09.fm Page 27 Thursday, December 11, 2003 9:24 AM

For details of products, please contact your nearest Yamaha Die Einzelheiten zu Produkten sind bei Ihrer unten aufgeführten representative or the authorized distributor listed below. Niederlassung und bei Yamaha Vertragshändlern in den jeweiligen Bestimmungsländern erhältlich. Pour plus de détails sur les produits, veuillez-vous adresser à Yamaha ou au distributeur le plus proche de vous ﬁgurant dans la liste suivante. Para detalles sobre productos, contacte su tienda Yamaha más cercana o el distribuidor autorizado que se lista debajo.

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HEAD OFFICE Yamaha Corporation, Pro Audio & Digital Musical Instrument Division Nakazawa-cho 10-1, Hamamatsu, Japan 430-8650 Tel: +81-53-460-2441 PA09

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